The collection’s many prints (of which there was one too many of Yohji’s face) were influenced by art books dating from the Middle Ages to the current day. ![]() She told me the whole set was dark apart from a light on the stage and it made me think of contrasting darkness and light together.” ![]() “My daughter went to a Bob Dylan concert that I couldn’t go to because of back pains,” said Yohji Yamamoto backstage. More than a set, it felt almost like a cosily protective, affirmative female presence watching over the models and audience alike.Bright gray and white fabrics were paired with black to represent the contrast between light and dark. Her sober-sexy collection was arched over by the humungous, playfully colorful fabric sculpture installation commissioned from the Portuguese artist Joana Vasconcelos. Chuiri has her own approach to encouraging and uplifting women’s spirits today. Chiuri is having fun with accessories: the platform-soled ankle-strapped shoes redone with Roger Vivier’s famous “Choc” heels from the 1947 New Look collection jewelry with miniature Eiffel Towers dangling from rings and the center of pearl chokers.Ĭhristian Dior was famed for bringing back romance, glamour-even fashion itself-a sign of hope and joy for all women after the devastating war in Europe. There was also a black leather holster, covered in laser-cut flowers slung surreptitiously across one shoulder of a black shirt perhaps a salute to all the brave women of the French Resistance, Catherine Dior’s sisters-in-arms. Maybe there was something of Catherine Dior in the simplicity of the opening look-an open-necked white shirt, tucked into a black pencil skirt-and in the blurred chine flowered dresses which came later. Perhaps a sign of Chiuri’s success is that her clothes really don’t need convoluted explanations to make sense. Dior is Paris-and this one’s in Champagne silk!” “Here is a map of Paris we’ve used as a print. Nearly seven years into her creative directorship at Dior, she’s enjoying the fact that she’s come to understand Frenchness more, as well. Near the Mediterranean, you can’t wear clothes that are heavy and hot,” said Chiuri. This is my DNA, something that is my Italian background. ![]() Perhaps most importantly, the nipped-in boning of the Dior Bar jacket has become a thing of the past. The Dior printed T-shirt of the season read “Je ne regrette rien.” Present in one way or another on the runway were Catherine Dior, the couturier’s sister Juliette Gréco, the Left Bank singer and actress who was famed for wearing existentialist black and Edith Piaf who was, well Edith Piaf. At a time when we might be craving more simplicity and less performative theatricality from fashion-that’s a yes to pencil midis and plain-but-interesting day dresses-her design solutions came from her personal response to thinking about the feisty resilience of three post-war clients. What’s distinctive about the routes Chiuri takes into Dior’s history is that she identifies with the rediscovered, little-known stories of the women who wore his clothes. This was recognizably Christian Dior’s storied heritage, right enough-but “reconstructed” as Chiuri put it, by a creative director who is focused on seeing how the past can be made relevant for today’s women. Mostly dressed in black, artfully wrinkled suits and dresses, her wardrobe adroitly addressed both the somber present and the 1950s. ![]() A direct, austere and yet powerfully sexy Parisian walked the Dior runway in Maria Grazia Chiuri’s fall ready-to-wear show.
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